"Mythologies become exhausting burdens, from a writer’s perspective. If you look deep into The X-Files, which we bring up a lot in the room as something we’re just terrified of, or late in the game with Buffy, as much as I love that show, things get complicated and it’s hard. It becomes less about the fun of why you fell in love with that show, in the first place, and more about servicing all of these storylines."

"I’m not a fan of endless mystery in storytelling. I like to know where the mythology is going and that we’re getting there in [an] exciting, fast-paced way."

"Every so often you want to map out your plot mythology but never so specifically that you can’t let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn."

"We were really interested in exploring the idea of authority figures getting the public really riled up with xenophobia and racism, but ultimately the most dangerous people are the white dudes standing next to you. We wanted to reflect that story. So, the supervillains are, in a way, a misdirect."

"If I had a worldview, and I don’t know if I do, but if I did, it’s one that’s intensely humanistic. [That worldview] is that the only thing that matters is family and personal connection, and that’s the only thing that gives life meaning. Religion and gods and beliefs — for me, it all comes down to your brother. And your brother might be the brother in your family, or it might be the guy next to you in the foxhole."

"When you start a show, the plans are not set in stone. They’re really mutable, cocktail napkin sketches."